Wynton Marsalis

[Jim]

I heard W.M. in Akron two nights ago. His trumpet mastery is quite phenomenal. He plays jazz with great feeling and articulates extremely difficult licks with the technical precision of an orchestral master-player. He also uses articulations and licks that I've never before heard any other players attempt; and he does so with perfect musicality that fits the mood he is trying to convey. His improvisations always make sense within the mood and the form of the piece he's playing. This was a BRAVO performance and demonstrated to me that he still wishes to improve his already vast abilities rather than to simply rest on his laurels. Just my thoughts, Jim

[Don O]

Jim - I get to see W.M. with his septet here in Minneapolis tomorrow night, a one-nighter only. Will be the first time live for me. Will post a review later.

Don Olmsted
_________________
"He who knows every note more thoroughly understands the effect".

[johnny]

yeah, i saw him tuesday, in columbia, missouri. i was helping set up the sound, so i was able to be back stage for both shows. UNBELIEVABLE!!! those guys were swingin' hard! i had them all sign my arbans book for a little extra inspiration to practice. they had bobby watson as a special guest that night, since he is just in k.c. gonna take a couple of improv lessons with him next month after they do their reunion gig in new york.

[cgooding]

I have seen Wynton live twice with his octet. The first time was without a doubt the greatest musical experience of my life. I was completely awed. He is truly a genius and in my opinion, the finest trumpet player in the world today.
_________________
"We are the music makers, and we are the dreamers of dreams."

[TJH]

Twelve (or has it been thirteen?!) years ago, I also had a chance to see and hear Wynton Marsalis live. From a technical standpoint, he left me with the impression that he's the most complete "big name" trumpeter out there. His tone, articulation and flexibility were incredible.

But for some reason, I wasn't nearly impressed with him as a jazz player. I'm not a jazz performer myself (or any kind of *real* performer!) but I've listened to enough jazz, and spent enough money on both Mr. Marsalis' and others' recordings, to make an informed comparison.

If you can find a better trumpet player than Wynton Marsalis, I would like to meet him to kiss the ground at his feet. But no one should have much trouble finding better jazz players than Mr. Marsalis. A lot of what he plays leaves me in awe from a technical standpoint, but rather cold from the emotional standpoint.

Based on what I've seen and heard since then, it's safe to say that Mr. Marsalis has improved and matured, and easily one of the best jazz trumpeters out there. I still get the impression that the masters of years past were pretty much around the block and down the street when they were Mr. Marsalis' age, while Marsalis is still taking his first steps.

There is no debating Wynton Marsalis' influence though. He has done a lot to revive traditional jazz, and I think it's great that we witnessed the revival as spearheaded by a trumpet player; there is the coattail effect of the instrument being more popular nowadays. In a pop music culture dominated by singers and players of amplified string instruments, and a jazz music culture where the saxophone had become king, it was refreshing to see such a heavily promoted, popular and legitimately accomplished *trumpet* player squarely in the public's eye.

Despite my criticism, I owe my knowlege of jazz to Wynton Marsalis. Back in 1988, I bought "Think of One", and simply started buying CDs by the artists mentioned in the liner notes of that recording (Wayne Shorter, Theolonius Monk, Duke Ellington). I eventually got hooked into Miles Davis from another source, which led me down even more roads and into different recordings by looking up the artists he collaborated with. But it won't change the fact that my very first jazz recording was by.... Wynton Marsalis.

I'm probably not alone in my debt. Wynton Marsalis is definitely one of the most influential musicians in the last thirty years!

[ This Message was edited by: TJH on 2002-03-24 12:41 ]

[ This Message was edited by: TJH on 2002-03-24 12:41 ]

[Don O]

Last night I heard "the man" and his septet in Minneapolis. Wynton was by far the superior musician among the group although the bass man and drummer were tops. I didn't care as much for the alto and tenor sax improvs, not too imaginative I think.

But W.M. was great - a superb trumpeter and I think one of the great jazz artists ever. Of course, he's one of the best classical players as well. I've been playing for over 50 years and I've heard 'em all and seen most of 'em over the years. Wynton is no doubt among the very best, perhaps, in his own way, the best so far.

It's true - he plays licks you hear from no one else and he's very inventive. He moves all over the instrument's range within a few measures at a time and with apparent ease and no expression of strain or fatigue after a 2-1/2 hour performance. I had a good view of him playing and I noted that when he inhales , he takes a deep breath down into his lungs and then abruptly his cheeks puff out (but not to the same extent as do M.F.'s) as a secondary reaction, as though the cheek cavities were being used to store additional air. I talked to him after the show but I forgot to ask him about that.

He was very gracious and a real gentleman. I asked about his horn and m.p. and he took it from his gig bag and handed it to me then walked over to some other people. It's a raw brass Monette and very heavy with the heavy bottom valve caps. I was surprised at its weight. The removable m.p. was a Monette B2S I believe - he said it's close to a 1-1/4C.

Anyway, the evening was an experience to remember for an old CB player like me.

Don Olmsted

[Xenoman]

I find his jazz composition and improvisation most impressive. He has a solid handle on the blues which is a must in all attempts to create good jazz (IMHO). We have too many artists who have strayed FAR from this main ingredient. He has solid command over his instrument and his ability to swing... to get your toe tapping... is unrivaled. He's not a high note specialist but he can nail them IF they fit into what he feels is necessary to get his message across that evening. No high notes because I've "run out of things to say". He does some really impressive work with the plunger mute too... makes that horn TALK!

The biggest problem I have is people who say the reason why I (and other people) like him is because of his spotlight in the media. A lot of people said the same thing about Tiger Woods (those critics were silenced in 2000). While I think the spotlight will lead you to something... it can't make you stay and take notice. That is something he has been able to do, not only with me - but millions of people all over the world for a long time.

His commitment to spreading music to young people is fantastic. He gives and gives and gives to youth programs all over the country. I saw him perform at Wolf Trap with LCJO. There was a little kid who played trumpet in the front row with his dad. Every time Wynton came out front to play a solo he would wink at the kid or play at him. The kid was totally sucked in. I'm sure he ran home and started practicing that very night...

...I know I did.

[Xenoman]

[Don O]

Xenoman - yes, the drummer was Herlin Riley - great. Took me back to Krupa and Rich days. The bass was Reginald Veal. And the pianoman Richard Johnson. All superb! Wess Anderson alto sax and Victor Goines tenor sax. They were good but , as I said, most of their improv was to me too simplistic. Ron Westray on trombone was pretty good, too.

I like your post above. I agree with your thoughts completely. And, yes, there was little girl in the front row left to whom Wynton would wink and smile at periodically. Then he spoke to her couple of times between sets.

Also, his interpretation of the blues sound is historic and you are right, a lot of guys have got away from that style over the past few years. He did a blues solo with much improv (don't remember the name) and he wailed and moaned, from pp to ff, from low to high registers and did some things unique to his style of playing jazz. Outstanding!

Don Olmsted

[Xenoman]

Don! I don't know if you remember me or not but you were one of the first people to help me when I started playing trumpet last year. You sent me a great pedal tone exercise via snail mail which I still incorporate in my routine weekly.

I am going to see Wynton and the Lincoln Center Jazz orchestra at the Kennedy Center later this month. Needless to say I can't wait. I am hoping to get a chance to speak to him and several members of his band.

Take care!
Eric M. Brewington